DOCSLIB.ORG

Brooklyn Academy of Music Presents the Sixteenth

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Brooklyn Academy of Music Presents the Sixteenth BROOKLYN ACADEMY OF MUSIC PRESENTS THE SIXTEENTH ANNIVERSARY OF DANCEAFRICA HAS BEEN MADE POSSIBLE BY AT&T 1993 DanceAfrica Journal Editor: Sean Keepers Designers: Henry C. Blazer, Sean Keepers BAM Design Photographer: David Lee except where noted Cover Artist: Ron Mclean Printed by Venture Graphics 406 West 31st Street New York, NY 10001 TABLE OF CONTENTS DanceAfrica Festival1993 ........... ........ .. .. ....... .. .... ..... .. .... ..... .... ..... ... ... .. .. ..... ...... 3 Letter from Harvey Lichtenstein, President and Executive Director, BAM .................................................... ..... 4 Letter from Robert Allen, Chairman of the Board, AT&T.. ...................................................................... 5 Letter from Chuck Davis, Artistic Director, DanceAfrica .. ..... .... .......... .... ...... .... ............. ....... .................. 8 Honorees of DanceAfrica 1993 .......................... .. ........ .. ...... .. ............................ 10 Program 1, Friday, May 28 8pm .......................... .. ........................................................ 12 Program 2, Saturday, May 29 2pm .......... .. .... .. .................. ......................................... ... 13 Program 3, Saturday, May 29 8pm ........................................ ..... .... ............................... 14 Program 4, Sunday, May 30 3pm .............................................. .... .... ..... .... ..... .... .. ........ 15 "What Do You Dance? " by Chuck Davis ...................... ...................................... 19 "We Remember ... We" by Mikki Shepard ................................ .... ..................... 20 The Council of Elders ..................................... .. ...... .. .... ........ .. ................. ... ....... .24 The Performing Artists of DanceAfrica 1993 ......... .. ...... .. ........................... ........ 25 Day of Dance Symposium ............................................. .... .. ... .... .. ... .... ... .. ......... 55 BAM Board of Directors and Staff ................................. .. ...................... ............. 56 DANCEAFRICA 1993 HAS BEEN MADE POSSIBLE BY - BATs.T - ADDITIONAL SUPPORT HAS BEEN PROVIDED BY THE HARKNESS FOUNDATIONS FOR DANCE NATIONAL ENDOWMENT FOR THE ARTS MARY LIVINGSTON GRIGGS AND MARY GRIGGS BURKE FOUNDATION NEW YORK STATE COUNCIL ON THE ARTS NEW YORK CITY DEPARTMENT OF CULTURAL AFFAIRS SPECIAL SUPPORT HAS BEEN PROVIDED BY ~ f~l Starrett (/]Iaker (h,l c onserve histant Ed1'§01'1 energy at cSjJring Creek GRITS COMMUNITY INITIATIVES AT BAM ARE MADE POSSIBLE, IN PART, BY IBM CORPORATION THE METROPOLITAN LIFE FOUNDATION A CONSORTIUM OF CORPORATIONS LOCATED IN DOWNTOWN BROOKLYN AND COMMITIED TO THE FUTURE OF THE ARTS AT BAM, HAS PROVIDED SP ECIAL SUPPORT FOR THIS PROGRAM . BROOKLYN ACADEMY OF MUSIC Harvey Lichtenstein, President and Executive Producer presents May 23-31, 1993 DANCEAFRICA Artistic Director: CHUCK DAVIS Musical Director: Bradley Simmons Lighting Designer: William H. Grant Ill Stage Manager: Ngoma Woolbright Assistant Stage Manager: Normadien Woolbright DanceAfrica Visual Artist: Ray Mclean Journal Photographer: David Lee Sunday, May 23 Friday, May 28 Sunday, May 30 OPENING DAY CELEBRATION Program I DANCEAFRICA BAZAAR Procession of Imperial Bikers WE CELEBRATE AFRICA BAM Parking Lot Libation Ceremony BAM Opera House, 8pm 12 noon -7:30pm 3PM Saturday, May 29 Program IV Monday, May 24 DANCEAFRICA BAZAAR DEBELE SA KILALA MASTER CLASSES BAM Parking Lot BAM Opera House, 3pm 6- 9pm 12 Noon - 11 pm Monday, May 31 Tuesday, May 25 Program II Memorial Day MASTER CLASSES DANCE THE DANCEAFRICA BAZAAR 6- 9pm AFRICAN EXPERIENCE 12 noon -7:30pm BAM Opera House, 2pm BAM Parking Lot Wednesday, May 26 DAY OF DANCE SYMPOSIUM MASTER CLASSES Program Ill Sam- 7pm 6- 9pm THE GRIOT'S CORNER BAM Opera House, 8pm HARVEY LICHTENSTEIN President & Executive Producer It's hard to believe that sixteen years have gone by since our first DanceAfrica. And a sweet sixteen it is! With over 400 artists, nineteen companies, four performances and a three-day Bazaar, this is our largest Festival ever- indeed the largest festival devoted to the rich legacy of African dance and music in the nation. Chuck Davis, the Festival's Artistic Director, has put together an impressive week packed with the energy, power, rhythm and color of Africa which kicked off on May 23rd with a motorcycle procession from Harlem to BAM and ends with a full day of dance on Memorial Day. DanceAfrica is about joy, heritage, affirmation and community. Over the past 15 years, DanceAfrica has become a neighborhood tradition, draw­ ing thousands of BAM neighbors annually. DanceAfrica is about revisit­ ing the past and looking to the future-every company that has per­ formed in the past 15 years has been invited back to present new work. It's about young people and adults, children and parents, with matinee performances and special workshops for children. It's about looking, lis­ tening and especially, doing-taking part in the experience through mas­ terclasses, panel discussions and symposia. Together with our friends at AT&T, I am proud to welcome you to this extraordinary week. Special thanks to Con Edison, Starrett at Spring Creek and Quaker Instant Grits for their generous support. Here's to the coming of age of a BAM tradition. ATaaT ROBERT E. ALLEN Chairman of the Board For more than a decade and a half, the DanceAfrica Festival has brought us a week of music and dance, community involvement and just plain excitement. DanceAfrica is a unique, family-centered experience that has brought home the richness of African culture to thousands of African Americans, as well as people from other backgrounds. 11 The fact that DanceAfrica 1993 is the Sweet 16 II celebration of this annual event is a tribute to the vision and the persistence of the Brooklyn Academy of Music, and to the festival itself. At AT&T, we're proud to be sponsors of both. Congratulations to all involved for producing an experience that gets better every year. Sincerely, .. CHUCK DAVIS Artistic Dire ctor of Da nce Africa DanceAfrica, under the auspices of BAM, has graced our community annually for the past sixteen years. You, its audience, have grown from a few hundred applauding in the BAM Playhouse to thousands accompa­ nying their screams of excitement with thunderous applause and foot stomping as the Opera House, filled to standing-room only capacity, rocked from side to side, buffeted by the sounds of many drums. Dance company directors have written special grants and waited over two years for their chance to share their talents with the community and each other. Scholars have held our attendees spellbound as little-known facts about Africa were revealed during seminars and master classes. DanceAfrica has grown. Our Motherland, Africa, is pleased. African Dance and Music is the essence of life. From ancient times to the present, we have revelled in the joy and beauty of our African her­ itage. We have listened as the elders poured knowledge over and into our minds, as the rhythms of life sounded all around us during the heal­ ing ceremonies which united our communities. African Dance and Music, with its ability to foster and support the long-awaited UMOJA, will once again motivate us to greatness. Traditional African values and cultures have been corroded by seculariza­ tion, imposed on by materialism, and beset by role models educated under systems designed to foster separation. But truth cannot be shrouded forever. Dance and Music will lead the way as we set a course to assist our Motherland in her return to GREATNESS. Let UMOJA and HARAMBEE be the hue and cry from every point as we strive for aware­ ness, understanding and a deeper respect for our people and our AFRICAN HERITAGE. A UNITED AFRICA WILL UNITE THE WORLD . Peace and Love I niques with America's great dance pioneers-Martha Graham, Doris Humphrey, Hanya Holm and Charles Weidman. She was trained in classical and preclassical dance forms by the master teacher, Louis Horst. Her knowledge of ballet, character and folk dances of Europe and America as well as her solid base in cre­ ative modern was gained by study at the New Dance Group in New York City. Travel and study in the interi­ DR. PEARL E. PRI~US or villages of Africa, the Islands of the Caribbean, and BABATUNDE OLATUNJI throughout the southern US gave her the unique train­ CHIEF BEV ing which characterizes her as the specialist in the dance heritage of Black people. Dance critic Walter norees Terry called her "the world's foremost authority on African dance." II DR. PEARL E. PRI~US,. I internationally famous American anthropologist, BABATUNDE OLATUNJI choreographer and dancer, is an outstanding lecturer "Rhythm is the soul of life. The whole universe in the field of African ethnology, dance and African­ revolves in rhythm. Everything and every human action American studies. She has lectured at universities and revolves in rhythm." - Olatunji centers of learning throughout the United States, Europe, and West Indies, Mexico, Israel and Africa. Babatunde Olatunji is "Master of Drums." In the gifted She is listed in Whos Who in America for her great hands of Olatunji, virtuoso of West African percussion, contribution to American culture. drums and rhythm become instruments of both individ­ ual and global transformations. Winner of the last grant from the Julius Rosenwald Foundation, Dr. Pearl Primus has done extensive Born and raised in Nigeria, Olatunji was educated at research in
Load more

Recommended publications
  • Vindicating Karma: Jazz and the Black Arts Movement
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2007 Vindicating karma: jazz and the Black Arts movement/ W. S. Tkweme University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Tkweme, W. S., "Vindicating karma: jazz and the Black Arts movement/" (2007). Doctoral Dissertations 1896 - February 2014. 924. https://scholarworks.umass.edu/dissertations_1/924 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. University of Massachusetts Amherst Library Digitized by the Internet Archive in 2014 https://archive.org/details/vindicatingkarmaOOtkwe This is an authorized facsimile, made from the microfilm master copy of the original dissertation or master thesis published by UMI. The bibliographic information for this thesis is contained in UMTs Dissertation Abstracts database, the only central source for accessing almost every doctoral dissertation accepted in North America since 1861. Dissertation UMI Services From:Pro£vuest COMPANY 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Michigan 48106-1346 USA 800.521.0600 734.761.4700 web www.il.proquest.com Printed in 2007 by digital xerographic process on acid-free paper V INDICATING KARMA: JAZZ AND THE BLACK ARTS MOVEMENT A Dissertation Presented by W.S. TKWEME Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 W.E.B.
    [Show full text]
  • Alvin Ailey American Dance Theater Announces Programming for New York City Center Season December 4, 2019 – January 5, 2020
    ALVIN AILEY AMERICAN DANCE THEATER ANNOUNCES PROGRAMMING FOR NEW YORK CITY CENTER SEASON DECEMBER 4, 2019 – JANUARY 5, 2020 Artistic Director Robert Battle Leads the Company in Five-Week Holiday Engagement Featuring More than Two Dozen Dynamic Works and a Series of Special Programs Opening Night Gala Benefit on Wednesday, December 4th Honors Elaine Wynn and the Elaine P. Wynn & Family Foundation World Premieres by Donald Byrd and Ailey’s First Resident Choreographer Jamar Roberts Company Premieres of Aszure Barton’s BUSK and Camille A. Brown’s City of Rain and New Productions of Judith Jamison’s Divining and Lar Lubovitch’s Fandango Special Evenings Celebrate The Ailey School’s 50th Anniversary on Tuesday, December 10th and Associate Artistic Director Masazumi Chaya on Sunday, December 22nd Tickets starting at $29 are on sale now! NEW YORK – UPDATED October 24, 2019 — Alvin Ailey American Dance Theater, New York City Center’s Principal Dance Company, returns to the theater’s stage from December 4, 2019 – January 5, 2020. Artistic Director Robert Battle leads Ailey’s 32 extraordinary dancers during this annual five-week engagement, which has become a joyous holiday tradition. The repertory features more than two dozen diverse works by some of the world’s preeminent choreographers, including world premieres by Donald Byrd and Ailey dancer and newly announced Resident Choreographer Jamar Roberts, company premieres by Aszure Barton and Camille A. Brown, and new productions by Judith Jamison and Lar Lubovitch. “I’m not only excited about this season’s topical works and the range of choreographers, but also that Jamar Roberts is now Ailey’s first-ever Resident Choreographer” stated Artistic Director Robert Battle.
    [Show full text]
  • Alvin Ailey American Dance Theater's Ailey Ascending
    FOR IMMEDIATE RELEASE Ailey Contacts: Christopher Zunner: [email protected] / 212-405-9028 Lauren Morrow: [email protected] / 212-405-9079 ALVIN AILEY AMERICAN DANCE THEATER’S AILEY ASCENDING 60th ANNIVERSARY CELEBRATION INCLUDES A LANDMARK SEASON AT NEW YORK CITY CENTER NOVEMBER 28 – DECEMBER 30 Five-Week Holiday Engagement Features World Premieres of Ronald K. Brown’s The Call and Rennie Harris’ Lazarus, Company Premiere of Wayne McGregor’s Kairos, New Production of Robert Battle’s Juba, and Timeless Ailey Program of Rarely Seen Works by Alvin Ailey Multimedia Work Becoming Ailey Brings Presence of Legendary Founder Back to the Stage Tickets starting at $29 are on sale now! November 6, 2018 (NEW YORK CITY) — Alvin Ailey American Dance Theater, New York City Center’s Principal Dance Company, returns to the theater’s stage from November 28 – December 30, 2018 for a milestone season. During the Company’s Ailey Ascending 60th Anniversary celebration, Artistic Director Robert Battle leads Ailey’s 32 extraordinary dancers during this five-week holiday engagement that will elevate a legacy of excellence in artistry with premieres by some of today’s most revered and prolific choreographers, including world premieres by Rennie Harris and Ronald K. Brown; a company premiere by Wayne McGregor; a new production of by Robert Battle; the return of a recent premiere by Jessica Lang, and special performances of rarely seen works by Alvin Ailey himself. The New York City Center season launches on Wednesday, November 28th with a 60th Anniversary Opening Night Gala benefit performance, followed by a party at the New York Hilton Grand Ballroom.
    [Show full text]
  • Immigrant Musicians on the New York Jazz Scene by Ofer Gazit A
    Sounds Like Home: Immigrant Musicians on the New York Jazz Scene By Ofer Gazit A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Benjamin Brinner, Chair Professor Jocelyne Guilbault Professor George Lewis Professor Scott Saul Summer 2016 Abstract Sounds Like Home: Immigrant Musicians On the New York Jazz Scene By Ofer Gazit Doctor of Philosophy in Music University of California, Berkeley Professor Benjamin Brinner, Chair At a time of mass migration and growing xenophobia, what can we learn about the reception, incorporation, and alienation of immigrants in American society from listening to the ways they perform jazz, the ‘national music’ of their new host country? Ethnographies of contemporary migrations emphasize the palpable presence of national borders and social boundaries in the everyday life of immigrants. Ethnomusicological literature on migrant and border musics has focused primarily on the role of music in evoking a sense of home and expressing group identity and solidarity in the face of assimilation. In jazz scholarship, the articulation and crossing of genre boundaries has been tied to jazz as a symbol of national cultural identity, both in the U.S and in jazz scenes around the world. While these works cover important aspects of the relationship between nationalism, immigration and music, the role of jazz in facilitating the crossing of national borders and blurring social boundaries between immigrant and native-born musicians in the U.S. has received relatively little attention to date.
    [Show full text]
  • Gramofon, 1996 (1. Évfolyam, 1-5. Szám)
    ELIN ELINTÉZI ÉS NINCS MUNKA! m««"' 0 2 ^ = ^ V A MONOFIX Kft. várja Önöket az EUN háztartási gépek I teljes választékával. ÜZLETEINK: Bemutatóterem Budapest XIX., Üllői út 202-204. Budapest III., Huszti u. 9-17. 11. lépcsőház Székesfehérvár, Mártírok útja 5. Nyitvatartás: hétfő-péntek: 10-18-ig szombat: 9-13-ig. Információs telefon: 282-9523 ▼ MONOF.X EXPORT-IMPORT AZ E L I N HÁZTARTÁSI GÉPEK KIZÁRÓLAGOS FORGALMAZÓJA Ezúton értesítjük kedves vásárlóinkat, hogy 1996. december 26-tól 1997. január 06-ig zárva tartunk. zerkesztőség G R A M O N The Hungarian CD Review ft Gramofon novemberi >by Mkfirrrin Tokody Ilona Retkes Attila ILONA hick Cofea _ Főszerkesztő TOKODY VERDI Bősze Adóm Chick Corea és Lapigazgató Bobby McFerrin Pataki Andrea Szerkesztő Ornette Coleman Human Telex Kft. Lapterv és tipográfia ■ffteve _ 'eatestHit: Steve Turre Aradi Varga István Aűvészeti igazgató Sim p ly Red ovák Gábor pográfia ivatok: jsze Adóm Retkes Attila interjú, Klasszikus, Tisztelt Olvasó! Pop-rock Tártál o m Zipernovszky Kornél Karácsonyhoz közeledve egyre nagyobb CD-kínálattal jelent- j I azz keznek a lemezkiadók. Nekünk, vásárlóknak sokszor nehéz el­ A hónap interjúja 2 Pataki Andrea döntenünk, melyik felvételen találunk igazán élvezetes produkci­ Presser Gábor Kiadói panoráma, Gramofon posta ót. A Gramofon legújabb számában az eddigieknél is markán- I sabb kritikákkal kívánunk különbséget tenni a kifejezetten piaco­ Kritika Szerkesztőség címe: rientált és az igényes felvételek között. 1025 Budapest Klasszikus 4 Mandula utca 31. A hónap interjúja rovatban ezúttal a magyar popzenei élet Takács Ágnes klasszikusának számító Presser Gábor nyilatkozik, számunkkal Jazz 14 asszisztens egy időben megjelenő új lemezéről. A klasszikus zenei rovat Tel: 06-30-418-016 A J Fax: 212-4782 hónap felvétele címet a komolyzenei élet talán legígéretesebb Pop - rock 24 tehetségének, Maxim Vengerov hegedűművésznek ítélte, aki Si­ Kiadja: belius és Nielsen hegedűversenyeit játszotta lemezre Daniel Ba­ a Budapesti Fesztiválzenekar Amfisz Kft.
    [Show full text]
  • Alvin Ailey American Dance Theater Are Available for Download from the Cal Performances Press Room
    CONTACT: Louisa Spier Jeanette Peach Cal Performances Cal Performances (510) 643-6714 (510) 642-9121 [email protected] [email protected] FOR IMMEDIATE RELEASE: February 24, 2020 Press Room Images of the Alvin Ailey American Dance Theater are available for download from the Cal Performances press room. CAL PERFORMANCES AT UC BERKELEY PRESENTS ALVIN AILEY AMERICAN DANCE THEATER FEATURING THE BAY AREA PREMIERES OF WORKS BY RESIDENT CHOREOGRAPHER JAMAR ROBERTS AND DONALD BYRD, AND BAY AREA COMPANY PREMIERES OF WORKS BY CAMILLE A. BROWN AND ASZURE BARTON MARCH 31–APRIL 5, 2020 The Ailey’s UC Berkeley residency includes the fifth annual “Berkeley Dances Revelations” flash mob performance, a community dance class, an artist talk, and SchoolTime performances for K–12 students Berkeley, February 24, 2020 — Cal Performances at UC Berkeley welcomes the Alvin Ailey American Dance Theater—now led by artistic director Robert Battle in its seventh decade—for its annual campus residency, with two works receiving their Bay Area premieres, and two receiving their company Bay Area premieres, from Tuesday, March 31 through Sunday, April 5 in Zellerbach Hall. The company’s four programs honor its legacy of innovation and excellence, with diverse Cal Performances / Alvin Ailey American Dance Theater, page 2 works by preeminent choreographers, new productions, returning favorites, and timeless classics by Alvin Ailey. Two Bay Area premieres highlight social issues from the perspective of both history and current events: celebrated choreographer Donald Byrd’s Greenwood draws on the 1921 Tulsa Race Massacre, and Ailey dancer and inaugural resident choreographer Jamar Roberts’ Ode offers a meditation on the beauty and fragility of life in a time of growing gun violence.
    [Show full text]
  • National Endowment for the Arts Annual Report 1989
    National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1989. Respectfully, John E. Frohnmayer Chairman The President The White House Washington, D.C. July 1990 Contents CHAIRMAN’S STATEMENT ............................iv THE AGENCY AND ITS FUNCTIONS ..............xxvii THE NATIONAL COUNCIL ON THE ARTS .......xxviii PROGRAMS ............................................... 1 Dance ........................................................2 Design Arts ................................................20 . Expansion Arts .............................................30 . Folk Arts ....................................................48 Inter-Arts ...................................................58 Literature ...................................................74 Media Arts: Film/Radio/Television ......................86 .... Museum.................................................... 100 Music ......................................................124 Opera-Musical Theater .....................................160 Theater ..................................................... 172 Visual Arts .................................................186 OFFICE FOR PUBLIC PARTNERSHIP ...............203 . Arts in Education ..........................................204 Local Programs ............................................212 States Program .............................................216
    [Show full text]
  • "Na Roda Do Mundo: Mestre João Grande Entre a Bahia E Nova York"
    NA RODA DO MUNDO: Mestre João Grande entre a Bahia e Nova York MAURÍCIO BARROS DE CASTRO 2007 1 Universidade de São Paulo (USP) Faculdade de Letras e Ciências Humanas (FFLCH) Programa de Pós-graduação em História Social NA RODA DO MUNDO: Mestre João Grande entre a Bahia e Nova York MAURÍCIO BARROS DE CASTRO Orientador: Prof. Dr. José Carlos Sebe Bom Meihy Tese apresentada como conclusão de doutorado – Universidade de São Paulo (USP) – Departamento de História – Área: História Social 2007 2 AGRADECIMENTOS Passados quatro anos dedicado à pesquisa que apresento como conclusão do processo de doutoramento, não poderia deixar de agradecer aos que foram fundamentais nesta trajetória. Companheirismo, críticas, sugestões, ambientaram o correr dos acontecimentos que, mais do que marcar um ponto final, abre-se para novos empreendimentos. Agradeço ao meu orientador, José Carlos Sebe Bom Meihy, pela dedicação no acompanhamento. Em particular sou-lhe grato pela afinidade construída tanto nas identidades quanto nas diferenças de opiniões. Como se verá nesta tese, na maioria das vezes compartilhamos as mesmas idéias, o que se reflete no entrelaçamento de pesquisas de temas comuns. Por isso, ao encerrar esta fase de trabalho que promete continuidades não posso deixar de agradecer-lhe por me orientar, no amplo sentido da palavra, nestes últimos sete anos, desde que fui apresentado ao prof. Sebe como seu orientando de mestrado, em 2000. Em extensão, reservo um agradecimento especial aos participantes do Núcleo de Estudos em História Oral da Universidade de São Paulo (NEHO-USP), em cujas reuniões, pelas trocas de experiências, aprendi o sentido de ser companheiro de jornada acadêmica.
    [Show full text]
  • Contents | Zoom in | Zoom out Search Issue | Next Page For
    Contents | Zoom in | Zoom out For navigation instructions please click here Search Issue | Next Page DOWNBEAT 75 GREAT GUITARISTS JACK BRUCE DAVID BINNEY JAZZ CLUB GUIDE BRUCE DAVID JACK GUITARISTS 75 GREAT DownBeat.com FEBRUARY 2009 FEBRUARY FEBRUARY 2009 U.K. £3.50 Contents | Zoom in | Zoom out For navigation instructions please click here Search Issue | Next Page A D Previous Page | Contents | Zoom in | Zoom out | Front Cover | Search Issue | Next Page BEF MaGS A D Previous Page | Contents | Zoom in | Zoom out | Front Cover | Search Issue | Next Page BEF MaGS A D Previous Page | Contents | Zoom in | Zoom out | Front Cover | Search Issue | Next Page BEF MaGS ___________ A D Previous Page | Contents | Zoom in | Zoom out | Front Cover | Search Issue | Next Page BEF MaGS A D Previous Page | Contents | Zoom in | Zoom out | Front Cover | Search Issue | Next Page BEF MaGS February 2009 VOLUME 76 – NUMBER 2 President Kevin Maher Publisher Frank Alkyer Editor Jason Koransky Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Kelly Grosser Intern Mary Wilcop ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sue Mahal 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 www.downbeat.com [email protected]___________
    [Show full text]
  • Copyright 2010, Michigan Opera Theatre Copyright 2010, Michigan Opera Theatre the Official Magazine 1Sla of the Detroit Opera House ~~~Em~
    Copyright 2010, Michigan Opera Theatre Copyright 2010, Michigan Opera Theatre The Official Magazine 1Sla of the Detroit Opera House ~~~eM~_---. Michigan Opera TheatreS 2000-2001 Season is lovingly dedicated to the memory of Lynn A. Townsend and Robert E. Dewar BRAVO IS A MICHIGAN OPERA THEATRE PUBLICATION Dr. David DiChiera, General Director Laura Wyss, Editor CONTRIBUTORS MICHIGAN OPERA THEATRE STAFF Alvin Ailey American Dance Theater Staff American Ballet Theatre Staff Arts'League of Michigan Staff Ballet Internationale Staff University Musical Society Staff PUBLISHER Live Publishing Company Frank Cucciarre, Design and Art Direction Chuck Rosenberg, Copy Editor Toby Faber, Director of Advertising Sales COVER PHOTO Detail from the Detroit Opera House, Mark]. Mancinelli, MJM Photography A special thanks to Jeanette Pawlaczyk and Bill Carroll Michigan Opera Theatre would like to thank Harmony House Records for donating season recordings and videos. Michigan Opera Theatre's 2000-2001 subscription and Single tickets have been graciously sponsored by Hunter House, Harmonie Park. METAL RESTORATION Physicians' service provided by Henry Ford Medical Center. Dent and scratcl-l. removal Re-a ttachmen t Alitalia is the official airline ~f Michigan Opera Theatre. • Sterling, brass, copper, bronze, and plate Pepsi-Cola is the official soft drink and juice provider for the Detroit Opera House. Starbucks Coffee is the official coffee of the Detroit Opera House. Ben Wearley, silversmith Steinway is the official piano of the Detroit Opera House and Michigan Opera Theatre. Steinway pianos are (248) 549-3016 provided by Hammel MuSiC, exclusive representative for Steinway and Sons in Michigan. President Tuxedo is the official provider of fonnal wear for the Detroit Opera House.
    [Show full text]
  • OLIVEIRA-DISSERTATION-2019.Pdf (1.677Mb)
    Copyright by Agatha Silvia Nogueira e Oliveira 2019 The Dissertation Committee for Agatha Silvia Nogueira e Oliveira Certifies that this is the approved version of the following Dissertation: Black Brazilian Female Dancer-Choreographer-Educators: Creating Alternative Axes of Action in the African Diaspora Committee: Omi Osun Joni L. Jones, Supervisor Rebecca Rossen Laura Gutierrez Charles Anderson Omoniyi Afolabi Black Brazilian Female Dancer-Choreographer-Educators: Creating Alternative Axes of Action in the African Diaspora by Agatha Silvia Nogueira e Oliveira Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2019 Dedication For Oya, who moves my life To Gustavo Melo Cerqueira, Mowumi Oliveira Melo and Ayodola Oliveira Melo with infinite love. Acknowledgements I am indebted to my family who keep supporting all my dreams: Jaciara Ornélia Nogueira de Oliveira, Ernande Melo de Oliveira, Alice Nogueira e Oliveira Brandão, Antonio Vicente Nogueira e Oliveira, Ernayde Melo, Cintia Oliveira, and Ivo Brandão. I am also grateful to Iya Nla Beata de Yemonjá, Babá Adailton, Iyá Doia, Iyá Ivete, and my asé family from the Ile Omiojuaro and Ile Asé Omi for their spiritual advising. My unending gratitude to my Supervisor, Dr. Omi Osun Joni L. Jones, for her advising and efforts in making this Ph.D. dissertation and my academic work better than I conceived. My gratitude also to Dr. Rebecca Rossen, Dr. Laura Gutierrez, Charles O. Anderson, and Dr. Niyi Afolabi, my dissertation committee members, who have provided transformative comments about my research throughout this process.
    [Show full text]
  • CAPOEIRA AS a RESOURCE: MULTIPLE USES of CULTURE UNDER CONDITIONS of TRANSNATIONAL NEOLIBERALISM Laurence Robitaille
    CAPOEIRA AS A RESOURCE: MULTIPLE USES OF CULTURE UNDER CONDITIONS OF TRANSNATIONAL NEOLIBERALISM Laurence Robitaille A dissertation submitted to the Faculty of Graduate Studies in partial fulfillment of the requirements for the degree of Doctor of Philosophy Graduate Program in Communication and Culture York University Toronto, Ontario December 2013 © Laurence Robitaille, 2013 ii ABSTRACT This dissertation explores the shifting meanings and values attached to capoeira, an Afro-Brazilian ‘martial game’, as it circulates as a ‘cultural resource’ in the context of neoliberal globalization. Since the 1970s, immigrating Brazilians brought their practice to new lands and commercialized their embodied knowledge and cultural difference. While they initially sought to create economic capital, a whole range of indirect repercussions followed: they generated affective communities, disseminated a Brazilian imaginary soon transformed into symbolic capital, and arguably transmitted an embodied memory that can be traced back to the practice’s African ancestry. This multi-sited ethnographic study uses a mixed methodology to explore how capoeira’s circulation in North American markets enables its multiple uses. A central commitment to theoretical analysis is conveyed by each chapter’s distinctive theoretical framing. Chapter One demonstrates processes of creation of political and ideological value as it examines capoeira’s role in the twentieth century formation of Brazilian nationalism. Chapter Two describes a new paradigm for considering ‘culture’ in a neoliberal political economy in which cultural goods and services assume new valuations. Chapter Three describes capoeira’s commercialization through theories on transnationalism and concepts of economic anthropology. Chapter Four analyses the construction of a field of discourse that renews capoeira’s semantic values, specifically as it relates to the field of Brazilian culture.
    [Show full text]